Berlin evenings have a way of starting in one place and ending somewhere you didn’t plan for. Last Wednesday that wasn’t a figure of speech.

The occasion was the 204L. New Balance’s latest silhouette carries a specific logic: understated on the surface, more considered underneath. It’s also the shoe that connects New Balance to Rosalía — not through a traditional campaign, but through a shared sensibility. Something that moves between worlds without needing to explain itself. The evening was built around exactly that idea.

Numéro Berlin and New Balance brought a small group together for dinner. No agenda, no itinerary, just a long table, good light, and people arriving in their own time. Niki Pauls, Hella Schneider, Lee Stuart, Alex Huber, Lily Meuser, Dustin Hanke. A mix that didn’t need much introduction or explanation. The table itself carried references to Rosalía’s world. The menu moved through the textures and contrasts of her LUX era — dishes that shifted register the way her music does, from something raw and instinctive to something precise and almost architectural. It wasn’t labelled or explained. It was just there for those who noticed.

Conversations started, split off into other conversations, got lost for a while, then resurfaced somewhere else down the table. People stayed longer than they probably planned to. That part felt important. The absence of a schedule, the sense that nobody was rushing toward the next thing.

There’s something specific about that format. A dinner that isn’t a press dinner, a group that isn’t a panel. No one was there to perform a role or represent something. The table had a looseness to it, the kind that only works when the mix is right and nobody is trying too hard. Food came and went, glasses got refilled, and the evening stretched in the way good evenings do. Slowly, without anyone noticing it happening. At some point the room got quieter, not because the energy dropped but because something had settled.

Then at some point, coats came back on.

The jump from a quiet dinner to the middle of a Rosalía crowd is its own kind of whiplash. From something drawn-out and intimate to something immediately loud and physical. The shift was fast. One moment you’re still half in a conversation from an hour ago, the next you’re in the density of a packed room and everything before it feels very far away.

The show was dense. Physically, sonically, conceptually. It sat somewhere between a pop concert and something more like a choreographed installation, though it never felt cold or detached. La Horde’s dancers gave it a sharp, almost confrontational edge. Their movement style somewhere between contemporary dance and something rawer, less composed. The staging swung between stripped-back and suddenly overwhelming. Minimal one moment, then maximal without much warning. Set design and costumes carried that same logic. Nothing decorative, everything deliberate. The same contradictions that ran through the dinner were suddenly blown up to full scale.

And then, somewhere in the middle of all that precision and construction, she started casually talking about Berghain and ex-boyfriends. No real segue, just a shift in register. Suddenly more monologue than performance, almost like an aside. The room laughed. It landed. That contrast between the tightly controlled world she’d built around herself and this sudden, offhand directness was probably the most interesting thing about the whole show. And somehow the most honest articulation of what the 204L is about too. Rigorous and relaxed at once.

What held everything together was her presence, and specifically her ability to move between registers without losing the thread. Controlled and performative one second, then suddenly relaxed and conversational. Sympathetic, funny, self-aware and at the same time very clearly the one running the room. The voice held up live without any caveats. Precise and strong in the bigger moments, and just as convincing in the quieter, more exposed ones.

By the time it ended, the earlier dinner felt both distant and strangely connected. The same group now scattered somewhere in the crowd, having shared something more collective than a table. The shoe, the show, the food, the people — separate things that, for one evening, made a kind of sense together.

When two icons meet, something unexpected happens. No one else than Berlin’s luxury restaurant borchardt, famous for its Schnitzel, teamed up with–also Berlin-based–fashion brand WRSTBHVR. On January 27th, they’ll launch their capsule collection in KaDeWe’s WRSTBHVR x borchardt pop-up store. What makes this collaboration so interesting is not only the big names but the clash of two very different brands. On one hand, a high–priced, tony restaurant with a history that goes back a long way: In 1853, borchardt’s doors opened for the very first time, quickly welcoming well-known guests until today. On the other hand, a young streetwear label founded in 2014 that focuses on comfort and contemporary, plain designs.

But it wouldn’t be Berlin, if there wasn’t a wish to mix up poshness and everyday streetstyle.  

Hoodie and T-shirt variations, a dress, a longsleeve, a sweater, two embroidered bomber jackets made out of satin, and a cap make up the limited 10-piece capsule collection. The restaurant’s famous Schnitzel dish and its equally popular espresso martini cocktail embellish the clothes’ fronts and backs as embroidery or print.

Also, the drink’s history found a place on the fabric: As the story goes, a man once ordered a cocktail at a bar that was supposed to make him both awake and drunk. The result? The coffee- and vodka-based espresso martini—and now the phrase “wake me up and then fuck me up” on the WRSTBHVR x borchardt shirt. Additionally, the restaurant’s front view is incorporated into the design. Overall, it’s a collection that’s playful, doesn’t take itself too seriously, and is sure to spark plenty of interest among Berliners—whether they love Schnitzel, streetwear, or both.